Fans pick 100 books like Land of Big Numbers

I am a Geography professor at DePaul University with a long-standing obsession with the world, comparing puddle shapes to countries as a small child and subsequently initiating map and flag collections that I cultivate to this day. Having lived in different parts of the UK and the USA, as well as being fortunate enough to travel further afield, I’ve relished the opportunity to explore widely and chat with the people who know their places best. I love books that alter how I look at the planet, and I am particularly intrigued by the subtle ways in which people have shaped our world—and our perceptions of it—both intentionally and inadvertently.

I am a professor emerita of Anthropology at Berkeley. I have written books on Muslim women in runaway factories; the modern Chinese diaspora; Cambodian refugees in the US; neoliberal Asian states; and Singapore's biomedical hub. I also write on contemporary Chinese art. We live in worlds interwoven by assemblages of technology, politics, and culture. Each situation is crystallized by the shifting interactions of global forces and local elements. Given our interlocking, interdependent realities, a sustainable future depends on our appreciation of cultural differences and support of transnational cooperation. For many people, China today is a formidable challenge, but learning about its peoples' struggles and desires is a beginning toward recognizing their humanity.

I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge. 

I am a professor emerita of Anthropology at Berkeley. I have written books on Muslim women in runaway factories; the modern Chinese diaspora; Cambodian refugees in the US; neoliberal Asian states; and Singapore's biomedical hub. I also write on contemporary Chinese art. We live in worlds interwoven by assemblages of technology, politics, and culture. Each situation is crystallized by the shifting interactions of global forces and local elements. Given our interlocking, interdependent realities, a sustainable future depends on our appreciation of cultural differences and support of transnational cooperation. For many people, China today is a formidable challenge, but learning about its peoples' struggles and desires is a beginning toward recognizing their humanity.

My passion for Chinese history took root when I began reading Jin Yong’s wuxia novels, which are all steeped in Chinese historical background. My fiction writing career began with historical fiction based on Chinese history. Through my earlier research work, I discovered that Chinese historians have always given short shrift to the influence of women on cultural, political, and social developments throughout the ages. That led me to decide to center my writing around inspiring Chinese female historical figures. After publishing The Green Phoenix and Tales of Ming Courtesans, I branched out to write wuxia fantasy novels, but with the same objective of featuring admirable female historical/fictional characters.

My career has given me the chance to travel around China and see parts that most foreigners do not get to see. Having studied Chinese in Oxford and Taiwan, working in China for a metal trading company in the 1980s gave me a chance to travel widely around the country when access to foreigners–especially diplomats and journalists–was highly restricted. Later, I became an early investor in the domestic stock market, focusing on smaller, entrepreneurial companies, which involved a lot of travel. I have now visited nearly every province except Hainan. Planting a vineyard and building a Scottish castle in Shandong introduced me to rural China and the local Communist Party.

I believe that we betray the past when we treat it as the past, and we abandon our ancestors, actual and spiritual, when we dehumanize them as denizens of history, as fundamentally different from us in terms of their lusts and appetites and political nuances and strange senses of humor and nose picking and dance moves and love. Novels, I think, are a powerful mode for understanding and perhaps even undoing the cultural patterns that would have us believe that history is behind us and that the past is not part of the forever dance of the present. 

From the moment I could understand that there was a country very far away where my mother was born, where my parents met, where their Russian and Austrian families could live safely, where there was no antisemitism, I wanted to know more about China. The cultures my family came from could not have been more different than Chinese culture, yet my great-grandparents, grandparents and parents chose to find haven in a distant land that presented obstacles, but did not throw up barriers. I’ve come to discover that throughout time, regardless of culture, regardless of station, women have achieved amazing things in the complicated and mysterious society that has been China throughout time.

From the moment I could understand that there was a country very far away where my mother was born, where my parents met, where their Russian and Austrian families could live safely, where there was no antisemitism, I wanted to know more about China. The cultures my family came from could not have been more different than Chinese culture, yet my great-grandparents, grandparents and parents chose to find haven in a distant land that presented obstacles, but did not throw up barriers. I’ve come to discover that throughout time, regardless of culture, regardless of station, women have achieved amazing things in the complicated and mysterious society that has been China throughout time.

From childhood on, I’ve been drawn to storytellers, especially those who use their imagination to captivate and question. My favorite stories twist and turn, and throw light on the every day to reveal what is inexplicable, weird, wondrous, and often heartrending. My taste runs wide, and I could list dozens of favorite collections. Having released my own debut book of stories during the pandemic, I learned firsthand how difficult it can be to find readers for story collections, especially when those collections are published by smaller presses. For that reason, I’ve chosen five recent debuts from masterful authors I hope more readers will discover.